Miss Jones is tired of her life and commits suicide. She comes to a place where its decided if she will end up in Heaven or Hell. Because of her suicide she should go to Hell but she has ... See full summary »
Its authorship in question (see below), "Inglorious Bitches" is an overblown Marc Dorcel production wasting mucho femme talent on a dull, low-achievement porn exercise. It should have emerged as better entertainment.
Having seen him pontificate in a "Making of" TV short for Dorcel elsewhere, I know that Max Candy is an American director who fancies himself an "artcore" specialist following in the footsteps of Michael Ninn. The sloppy footage he's assembled here generates little interest.
Especially because Tinto Brass has pioneered this particular genre with many sex films set in the WW II era, notably "Salon Kitty". That is really the model, not the QT war fantasy that appropriated the old Italian movie's title.
Opening footage is merely a concentrated flash-forward not resolved for many reels, as Candy posits a team of European prostitutes that successfully challenge Nazi armies via sabotage and seduction. Numerous action scenes are poorly staged, and one suspects that Candy was accorded a decent-sized budget but merely frittered it away.
There's nearly as many pretty actresses on the payroll as in a stupid Bluebird Films project from this time-frame, of which Dorcel stars like Anna Polina, Eufrat and Tarra White make the best impression. Storyline is incoherent, just action + sex = killing off of running time. Photography and SPFX are sub-par, while sex is mechanically performed.
Credits unnecessarily create a conflict/issue: It's listed on screen as "Un film de Max Candy" but end credits list Alex Conte as "Realisateur", not assistant director as IMDb chose to list him. In French the correct term is "assistant realisateur" so something's fishy here.
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